http://www.farhatartmuseum.info
Farhat Art Museum Collection , Abu Ghraib prison by five Artists "
Vannessa Stafford (America) , Laila Kubba (Iraq) . Rihab Jaafar (Lebanon) , Abed Al-Kadiri (Lebanon) Gerardo Gomez (El Salvador)
Mostrando entradas con la etiqueta exhibition. Mostrar todas las entradas
Mostrando entradas con la etiqueta exhibition. Mostrar todas las entradas
Nina Simone visit to Abu Ghraib Prison-Farhat Art Museum
http://www.farhatartmuseum.info
Farhat Art Museum Collection , Abu Ghraib prison by five Artists "
Vannessa Stafford (America) , Laila Kubba (Iraq) . Rihab Jaafar (Lebanon) , Abed Al-Kadiri (Lebanon) Gerardo Gomez (El Salvador)
Books about contemporary art in Africa
Angaza Afrika – African Art Now
Angaza Afrika, translated from the Swahili to mean ‘Shed light on Africa’ or ‘Look around Africa’, is comprehensive in its range. Each work will be a stunning visual and physical manifestation of the artists’ energy and spirit, such as beautiful work of South African artist Karel Nel, who sets vast leaves from the Coco palms in atmospheric, elemental architectural spaces.
Other featured artists include Romuald Hazoumé, whose immense installation Dream (2007), consisting of a boat made from petrol canisters, placed in front of a panoramic photograph won the documenta 12 prize; El Anatsui, who with his magnificent cloths made from thousands of glimmering bottle tops was one of the highlights of the 52nd Venice Biennale and who will transform Channel 4’s 50ft logo, situated in front of their London Headquarters, with an installation in June 2008; Owusu-Ankomah, whose drawings were chosen by Giorgio Armani for his Emporio Armani (PRODUCT) RED capsule collection and Abdoulaye Konaté who has been shortlisted for the Artes Mundi 2008 Prize.
Angaza Afrika, translated from the Swahili to mean ‘Shed light on Africa’ or ‘Look around Africa’, is comprehensive in its range. Each work will be a stunning visual and physical manifestation of the artists’ energy and spirit, such as beautiful work of South African artist Karel Nel, who sets vast leaves from the Coco palms in atmospheric, elemental architectural spaces.
Other featured artists include Romuald Hazoumé, whose immense installation Dream (2007), consisting of a boat made from petrol canisters, placed in front of a panoramic photograph won the documenta 12 prize; El Anatsui, who with his magnificent cloths made from thousands of glimmering bottle tops was one of the highlights of the 52nd Venice Biennale and who will transform Channel 4’s 50ft logo, situated in front of their London Headquarters, with an installation in June 2008; Owusu-Ankomah, whose drawings were chosen by Giorgio Armani for his Emporio Armani (PRODUCT) RED capsule collection and Abdoulaye Konaté who has been shortlisted for the Artes Mundi 2008 Prize.
San Francisco - Crossing the Invisible Line: The Art of Immigration
University Art Gallery and Department of Art and Art History, is pleased to present Crossing the Invisible Line: The Art of Immigration. The exhibition looks at the complex issue of immigration from a variety of perspectives, including paintings, prints, photographs, and sculpture by contemporary artists along with historical documents and artifacts from regional museums.
Organized by the students of ArtH 494: Gallery and Museum Methods documents and artifacts from the Chinese Historical Society of America in San Francisco and the Sonoma County Museum are on display along with several of the students are bringing in immigration materials from their own families and friends.
Mariana Barnes (San Jose)
Enrique Chagoya (San Francisco)
Hung Liu (Oakland)
Elena Lokshina (San Francisco)
Oscar Magallanes (Los Angeles)
Sonia Melnikova-Raich (San Francisco)
Favianna Rodriguez (Oakland)
Frank Wong (San Francisco)
SPOTLIGHT - Hassan Hajjaj
“From the Fez to the camel, Hassan Hajjaj takes on the European stereotypes of the North African world and turns them into a visual celebration,” writes Projectbase. “His large canvasses sit comfortably in the post modern European art world. Restaurateur Mourad Mazouz, Blur (who incidentally used Hassan’s graphics for their official website) singer Damon Albarn and the Moroccan Consulate in London have all acquired some of Hassan’s pieces.
Hajjaj discovered that nobody had documented the street level graphic art of his native land. It set him off on a mission to elevate and educate people to the funky visual art of the souk with a twist. Having arrived in London from Larache in Morocco in his teens, he grew up amid the emerging club culture of London, UK, absorbing the music and styles of the reggae, hip hop and world music. Hajjaj’s visual sensibilities led him to enter the world of art and fashion. After running clubs and managing up and coming bands, he decided in 1984 to forge a solid relationship with the New York scene and subsequently the same year launched his own clothing and accessories label RAP.
A restless spirit, Hassan has chosen his imagery intuitively and ingeniously. The concepts he employs are seductively witty and playful while having a serious edge. Clearly a child of the pop art generation – his working methods encompass so many technics and fields – he engages personally and intensively in the time consuming process of designing and producing furniture (tables, lamps, stools, poufs), clothes (from customised patrol attendant overalls to babuch shoes, from funky-ed djellabahs to hats), photography (the youth of the medina a never ending source of inspiration, as well as photo-reportages commissioned by several magazines), and painting and printed canvas (always in a limited numbered edition). The concept remains the same, only the medium changes. All is expertly crafted and dishes out plenty of colourful humour.
Hassan Hajjaj – Graffix from the Souk
http://www.blogger.com/img/blank.gif
For social systems at The Exchange, Hajjaj has produced a place where visitors can relax and chat. It might also be seen as a symbolic space, where life and art are momentarily integrated. Hajjaj brings together re-cycled North African objects with items and imagery readily found in and around Cornwall. The riot of colour, juxtaposition of patterns, and co-existence of old and new, Cornish and Moroccan creates a playful, feel-good environment. Here visitors can sit, read, relax, listen and talk.”
(Quoted from Projectbase)Hassan Hajjaj – Short Documentary
SHORT DOCUMENTARY: MOROCCAN ARTIST HASSAN HAJJAJ
Creative Africa Network in CAN TV explores the work of Hassan Hajjaj, a London based Moroccan designer and photographer.
NORTH AFRICA IN SAATCHI GALLERY
Compilation of artworks about Tunisia, Morocco, Algeria the slide show it's here :
http://www.saatchionline.com/slideshow/collection/owner/93455/collection/10231
http://www.saatchionline.com/slideshow/collection/owner/93455/collection/10231
Art breaks down invisible border
The steel fence that slices the United States - Mexico border now has a small, "invisible" gap in it. Quiroz bolted a digital vinyl photograph, spanning 12 feet high and 60 feet wide, to the wall to give the illusion that the wall isn't there - so people standing on the Mexico side can see right into the U.S.
“We placed it on the border wall in Mexico and basically it’s a photograph of exactly what’s on the other side,” Quiroz said. “In other words, making the wall somewhat invisible.” The photo is located on the main street along the border about a half a mile west of the border crossing in Nogales, Sonora Mexico. Quiroz and his team installed the picture on Feb. 9 by lining up the image with the surrounding background, and bolting it into the steel.
“The border patrol doesn’t allow anybody to put anything on the wall on the American side,” Quiroz said. “Whereas on the Mexican side, the Mayor gave us carte blanche, we can do whatever we want.”
“(The Mayor) said ‘it's not our wall. We didn’t put it up. Do whatever you want,’” Quiroz said. “So we have literally thought of the border wall as becoming a gallery.”
In fact, the entire project was funded by Mexican cultural organizations.
“The border patrol doesn’t allow anybody to put anything on the wall on the American side,” Quiroz said. “Whereas on the Mexican side, the Mayor gave us carte blanche, we can do whatever we want.”
“(The Mayor) said ‘it's not our wall. We didn’t put it up. Do whatever you want,’” Quiroz said. “So we have literally thought of the border wall as becoming a gallery.”
In fact, the entire project was funded by Mexican cultural organizations.
Sunset smile - Photography
The arts can be seen as an area of social change. Photography can be witness to the transformation of a society. In a context of marginalization of the Arab world, the mass deportation of Africans and Europeans and rejection of their values, we want to change the simplistic and stereotypical representations of the peoples of the southern Mediterranean creating positive images of its members. Photographs can open existing models that help us understand the world and update their representations. The new images produced can create some alternatives to exclusion, prejudice and simplistic ideas evoked earlier.
Sunset Smile Begins with reflections on colonial cinema Between 1910-1970. The directors of these documents were produced a significant social denigrating & misrepresented representations the African, Arabic and the southern towns. These images, recorded by specialists in documentaries about wild animals, to give knowledge of distant & exotics populations. By the middle of the documentary film created to explain with scientific discourses African or Middle Eastern societies.
Often these documents were created in a propaganda view for justify colonial occupation and to conclude about the inferiority of the black man with his archaic society and the need to impose the modern models of civilized societies. There has been a significant number of these images ridiculing these societies and their members by removing their right to speak in his own name and the power to represent themselves. The colonial film has generated many mental patterns that devalue and stigmatize African and Arab populations. These representations are undervalued individuals come from these areas. The current problem is that it continues to harm individuals by the facts that these models have not been updated and return date. That is an ancient representation that does not correspond to reality and has not been updated by individuals.
That explain it seems important to generate images That Can be useful for the empowerment and the re-Appropriation of representations of an individual about their own society. Change models, updating outdated images and go beyond stereotypes and prejudices thinking.
Sunset Smile Begins with reflections on colonial cinema Between 1910-1970. The directors of these documents were produced a significant social denigrating & misrepresented representations the African, Arabic and the southern towns. These images, recorded by specialists in documentaries about wild animals, to give knowledge of distant & exotics populations. By the middle of the documentary film created to explain with scientific discourses African or Middle Eastern societies.
Often these documents were created in a propaganda view for justify colonial occupation and to conclude about the inferiority of the black man with his archaic society and the need to impose the modern models of civilized societies. There has been a significant number of these images ridiculing these societies and their members by removing their right to speak in his own name and the power to represent themselves. The colonial film has generated many mental patterns that devalue and stigmatize African and Arab populations. These representations are undervalued individuals come from these areas. The current problem is that it continues to harm individuals by the facts that these models have not been updated and return date. That is an ancient representation that does not correspond to reality and has not been updated by individuals.
That explain it seems important to generate images That Can be useful for the empowerment and the re-Appropriation of representations of an individual about their own society. Change models, updating outdated images and go beyond stereotypes and prejudices thinking.
Trailer - Mediterranea, Shared & Divided - Photography
Mediterranea - Shared & Divided is visual art project about in the Mediterranean area. The interdisciplinary project explore photography, mixed-media and installation for create contemporary pictures of mediterranean area. Between Sarajevo, Tunisia, Istanbul and Cairo we promote a dialogue among communities sharing commons backgrounds. In a actual fragmentation of Mediterranean area due of an hard european migration politic, artists propose new visual artworks for contribute to pluralism, diversity and multiculturalism dialogue.
www.ziadzitoun.com
Forteress Europe 10 years now
With Schengen code reform we wish to propose a review of J.B. Russell artworks in 2000. European police Raids look like more and more than SS patrol controls and Deportation camps (CIE) open the door of a new area of persecution and inhuman detentions. When I think about them people jailed only for the fact they wish to improve them life I only think injustice. Something wrong in Europe...
J.B. Russell here
Dan Kitwood - Photography
The actual situation of refugees in North Africa make preocupated about the futur of them poor people. Forteress Europe grow with the Schengen Reform the last week. International solidarity stop in the UE borders. Dan Kitwood is in Tunisian refugees camps. He give us a panoramic of this situation.
Dan Kitwood here
dying in the Sahara
Some african migrants die in the Sahara, on the Niger territory, few kilometres to Lybia. The video was made in 2010 and that following everyday
Photography - Ghetto edge, fence of silence
Ghetto edge, fence of silence examines the concept of Fortress Europe. The images captured at the limits of the this area allows us to see the dangers that can produce a inhumane European immigration policy. In the context of its southern border militarisation from several decades, UE building isolation with its neighbours on the banks of the eastern coast of Africa. The development of migrant internment centers (CIE) has opened a new era of concentration and deportation. Unprecedented since the closing of the extermination camps in World War II, European government’s reducer rights and freedoms to refugees, practice administrative detention followed to deportations of thousands of people. Those facts reveal contemporary alteration of human rights in Europe.
Because today immigrants and refugees are persecuted, deprived of their freedoms and fundamentals rights we present this collection Ghetto Edge. Fence of silence. A reflection about perspectives that give European isolationism, the ghettos that occur in its suburbs, in their daily expulsions, the criminalization of refugees and immigrants increase every day a little more. Ex prolonged arbitrary detentions are unjustified and without charges to 18 months, forced turns, increase of some inhuman and degrading treatment in deportation centers. Because the strength of Europe is built on a total discretion, Ghetto Edge grating breaks the silence and open the debate on the future of the people who put their lives in danger to access to their mobility rights.
http://www.ziadzitoun.com/
Suscribirse a:
Entradas (Atom)